Rehana Lew Mirza is a playwright, bookwriter, and filmmaker whose work often focuses on highlighting the South Asian experience. Her latest play Hatef**k, which was featured on the 2017 Kilroys List, is currently having its world premiere at WP Theater, co-produced by Colt Coeur. We speak with Rehana about her experience working on Hatef**k, what it’s like to develop a new play and musical simultaneously, the community-building potential of theatre, and more.

In Jackie Sibblies Drury’s new play Marys Seacole, currently receiving its premiere production at LCT3 at Lincoln Center, the concept of care—who gives it and what it means—is explored while moving through time and place. We speak with Jackie about her writing process, care as women’s work, her career, and more.

Leah Nanako Winkler’s new play, God Said This, is just beginning performances at Primary Stages. We speak with her about her growth as a writer, what it was like to revisit the world of Kentucky for God Said This, and more.

In playwright Hansol Jung’s world of glorious magical realism, the Internet is portrayed by people singing in binary code and fathers turning into penguins who have lost their wings. Those are only two of the many-layered metaphorical components that make up her new show, Wild Goose Dreams, currently playing at The Public Theater. We speak with Hansol about the thematic importance of communication, the inherent musicality of her plays, metaphors on stage, and more.

The Thanksgiving Play, currently in previews at Playwrights Horizons, marks the New York debut of Larissa FastHorse and is believed to be the first time a play by a Native American has been produced at a major Off-Broadway theatre. We speak with Larissa about the inspiration for the play, satire in the American theatre dealing with race, the pressure of her New York debut, and more.

Geraldine Inoa and Gracie Gardner have a lot in common. Both are young writers who are relatively self-trained (neither chose to pursue an MFA) and who go back and forth between the worlds of theatre and television. Both women are also the recipients of very prestigious awards, The Unsung Voices Playwriting Commission and The Relentless Award, associated with Shonda Rhimes and Phillip Seymour Hoffman respectively. Additionally, both have plays being produced in New York this month. We speak with Geraldine and Gracie about their experiences working in theatre and TV, from the realities of balancing writing with day jobs to the unspoken gendered rules on how writers are expected to present themselves.

The new play “Is God Is” has become an early hit of the spring Off-Broadway season, earning rave reviews and multiple extensions. We talk to playwright Aleshea Harris about her inspiration and process for writing Is God Is, writing women who want revenge, her use of language, and more.

We talk to Chiara Atik, Sylvia Khoury, and Abby Rosebrock to discuss their plays, their experiences with Youngblood/EST, and the ways in which their offstage pursuits have impacted their dramatic writing.

The new play “The Homecoming Queen” marks Ngozi Anyanwu’s Off-Broadway playwriting debut. We spoke with her about her inspiration for the play and how current events changed it, her writing process, and balancing both acting and writing.

Founding artistic director Kelley Girod, director Candis Jones, and playwrights Sandra A. Daley-Sharif, Shelley Fort, Gethsemane Herron-Coward, Charly Evon Simpson, and Mona R. Washington talk about The Fire This Time Festival and being women of color making theatre.

In Jocelyn Bioh’s new play “School Girls; or, The African Mean Girls Play,” a group of teenage girls at a boarding school in Ghana compete over who will be the school’s entry for the Miss Ghana contest. We speak with Jocelyn about the inspiration behind “School Girls,” her writing process, and balancing both writing and acting.